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“A thrilling story of seduction, betrayal, and loss, Freud’s Mistress will titillate fans of Memoirs of a Geisha and The Other Boleyn Girl.”—Booklist In fin-de-siècle Vienna, it was not easy for a woman to find fulfillment both intellectually and sexually. But many believe that Minna Bernays was able to find both with one man—her brother-in-law, Sigmund Freud. At once a portrait of two sisters—the rebellious, independent Minna and her inhibited sister, Martha—and of the compelling and controversial doctor who would be revered as one of the twentieth century’s greatest thinkers, Freud’s Mistress is a novel rich with passion and historical detail and “a portrait of forbidden desire [with] a thought-provoking central question: How far are you willing to go to be happy?”* *Publishers Weekly
What if Freud had left a final paper declaring that morality arises not from the guilt caused by Oedipal desires but, instead, from fear of the unchallengeable authority demonstrated in megalomania? CUNY history professor Rosenfield makes this the premise of his novel debut--and produces a wonderful, chewy, intellectual delight.
Freud's 17-year-old case study "Dora" is well known in the literature of psychoanalysis. Yet few know the full story--told here for the first time--of this notable woman, who walked out on Freud after three months and, in a sense, cured herself. Born into an important Jewish-Austrian family, Ida Bauer Adler suffered from "petite hysteria"--loss of voice, difficulty breathing, migraines, fainting spells--brought on by the overt sexuality of her relatives. Growing up in a home beset with syphilis and tuberculosis, she overcame her father's marital infidelity, her mother's so-called housewife psychosis and her own seduction by the husband of her father's mistress. She married, raised a son, started a small business, stayed close with her brother, Otto, leader of the Austrian Socialist party, and survived Hitler's invasion of Vienna. Eventually, she made her way to the U.S. to rejoin her famous son, maestro of the San Francisco Opera House.
This lively chronicle of the years 1847­–1947—the century when the Jewish people changed how we see the world—is “[a] thrilling and tragic history…especially good on the ironies and chain-reaction intimacies that make a people and a past” (The Wall Street Journal). In a hundred-year period, a handful of men and women changed the world. Many of them are well known—Marx, Freud, Proust, Einstein, Kafka. Others have vanished from collective memory despite their enduring importance in our daily lives. Without Karl Landsteiner, for instance, there would be no blood transfusions or major surgery. Without Paul Ehrlich, no chemotherapy. Without Siegfried Marcus, no motor car. Without Rosalind Franklin, genetic science would look very different. Without Fritz Haber, there would not be enough food to sustain life on earth. What do these visionaries have in common? They all had Jewish origins. They all had a gift for thinking in wholly original, even earth-shattering ways. In 1847, the Jewish people made up less than 0.25% of the world’s population, and yet they saw what others could not. How? Why? Norman Lebrecht has devoted half of his life to pondering and researching the mindset of the Jewish intellectuals, writers, scientists, and thinkers who turned the tides of history and shaped the world today as we know it. In Genius & Anxiety, Lebrecht begins with the Communist Manifesto in 1847 and ends in 1947, when Israel was founded. This robust, magnificent, beautifully designed volume is “an urgent and moving history” (The Spectator, UK) and a celebration of Jewish genius and contribution.
A rich, penetrating memoir about the author's relationship with a flawed but influential figure—the painter Lucian Freud—and the satisfactions and struggles of a life lived through art. One of Britain's most important contemporary painters, Celia Paul has written a reflective, intimate memoir of her life as an artist. Self-Portrait tells the artist's story in her own words, drawn from early journal entries as well as memory, of her childhood in India and her days as a art student at London's Slade School of Fine Art; of her intense decades-long relationship with the older esteemed painter Lucian Freud and the birth of their son; of the challenges of motherhood, the unresolvable conflict between caring for a child and remaining commited to art; of the "invisible skeins between people," the profound familial connections Paul communicates through her paintings of her mother and sisters; and finally, of the mystical presence in her own solitary vision of the world around her. Self-Portrait is a powerful, liberating evocation of a life and of a life-long dedication to art.
This book provides a rich feast of literary and philosophical insight, offering as it does the first English commentary on Luce Irigaray's poetic text, Elemental Passions. It explores Irigaray's images and intentions, developing the gender drama that takes place within her book, and draws the reader into the conversation between "I-woman" and "you-man" in the text.
This is the first major analysis of Freud's five celebrated five case studies of Little Hans, Dora, the Rat Man, the Wolf Man and Schreber. O'Neill sets out the details of each case and critically engages with the narratives using a mixture of psychoanalytical insight and social theory. The book provides a clear and powerful account of the five major case studies that helped to establish the Freud legend; situates the cases and the analysis into the appropriate social and historical contexts; offers distinctive interpretations of the symptomatic body, of illness as a language, dream work and the Madonna complex; and challenges us to revisit the canonical texts of psychoanalysis. The book will be of interest to students of psychoanalysis, social theory and sociology.
Mourning Freud analyses Freud's experiences and theories of mourning as the basis for exploring changes in psychoanalytic theories and practices over the course of the 20th century. The modernist Freud of the early 20th century has ceded to the postmodern Freud of the 21st. Madelon Sprengnether examines this phenomenon from the perspective of Freud's self-analysis in relation to his generation of theory, the challenges and transformations wrought by feminism, cultural studies and postmodernism, and the speculations of contemporary neuroscience concerning the unreliability of memory. She offers a significant interpretation of major biographical episodes in Freud's life, arguing that Freud's inability to mourn the losses of his early life shaped his theories of mourning, which in turn opened the field of pre-oedipal studies to his successors, enabling a host of new psychoanalytic theories such as object relations, intersubjective and countertransference theories, Lacanian analysis, and trauma theory. Many of these approaches converge on the formulation of mourning as critical to the process of ego development. Through this argument, Sprengnether traces the shift from modernism to postmodernism-from an emphasis on mastery to vulnerability, from vertical to horizontal systems of meaning-making, and from what is representable in words to the realm of the nonverbal. Mourning Freud, by exploring Freud's own struggles with mourning, allows us, in turn, to mourn him-releasing him from frozen idealization while demonstrating the relevance of his work to the 21st century.
in Freud's view we are driven by the desire for pleasure as well as by the desire to avoid pain. But the pursuit of pleasure has never been a simple thing. Pleasure can be a form of fear, a form of memory and a way of avoiding reality. Above all, as these essays show with remarkable eloquence, pleasure is a way in which we repeat ourselves. The essays collected in this volume explore, in Freud's uniquely subtle and accessible style, the puzzles of pleasure and morality - the enigmas of human development.